Miliband uses new year message to counter the Tories' welfare myths

Labour leader's message challenges the stereotype of the welfare 'scrounger'.

The first big political event of the new year will be the Commons vote on the Welfare Uprating Bill, which will enshrine in law George Osborne's plan to increase benefits by just 1 per cent per annum for the next three years (well below the rate of inflation). Ed Miliband's new year message, which you can watch above, offers further evidence of how he intends to challenge the Conservatives' welfare myths. 

The Labour leader draws on a recent visit to a food bank to reject the stereotype of the welfare 'scrounger' presented by the Tories' recent campaign ads. He says: 

I also met some of the people using the food bank, some of them out of work and some of them in work.

The story that stuck with me the most was a man who told me his story he said: “I walked eleven miles to a job interview because I couldn’t afford the bus fare, I got the job then I walked eleven miles back," he was still looking for somewhere to live because he hadn’t got his first pay cheque and he was using the food bank.

Such a long way away from the normal stereotype you’d have about the people using food banks.

When Miliband raised the subject of food banks at the final PMQs of the year, some Conservatives accused him of painting an implausible picture of a Dickensian Britain of poverty and woe. But the Labour leader's decision to return to the subject shows that he believes the growth of food banks, which have increased six-fold in the last three years, is emblematic of all that has gone wrong with the UK economy. 

Perhaps the most striking line in Miliband's message is his assertion that "They want you to believe that we have a good government being let down by bad people. We don’t. We've got a bad government that is letting down the good people of this country." Given the propensity of some Tories (most notably the Britannia Unchained group of MPs) to blame Britain's declining economic fortunes on the indolence of its people, it's an argument that could begin to resonate. 

As the leader of a party which holds just 10 out of a possible 197 seats in the south outside of London, Miliband also repeats his declaration that one nation Labour is "a party of the private sector as well as the public sector, a party of south as well as north". But don't be surprised if you no longer hear the Labour leader refer to the "north-south divide". As today's Times (£) reports, a review of the party's performance in the south of England by former cabinet minister John Denham, who now serves as Miliband's PPS (and who recently blogged for The Staggers on Labour-Lib Dem relations), and Labour general secretary Iain McNicol has found that the phrase alienates southern voters.

Denham explains: "It used to be quite common to hear people talk about the north-south divide. If you think about that, the message is that everybody in the southern part is doing okay. If you use that language, it sounds as though you represent the northern bit. 

A classic mistake for the party for a long time was using that sort of language — and then wondering why people in the south didn’t think we were talking about them."

The phrase "one nation" appears no fewer than nine times in the five minute message. With an eye to the charge that his party's policy agenda remains ill-defined, Miliband promises "concrete" announcements in 2013 on areas "from business to education to welfare". If the Labour leader is to offer more than what David Miliband, writing in the New Statesman earlier this year, described as "defensive social democracy", he will need to fulfil that pledge in full.

Ed Miliband used the phrase "one nation" nine times in his new year message. Photograph: Getty Images.

George Eaton is political editor of the New Statesman.

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How “cli-fi” novels humanise the science of climate change

The paradox is that the harder climate-fiction novels try, the less effective they are.

When the Paris UN Climate Change Conference begins at the end of November, the world’s leaders will review the climate framework agreed in Rio in 1992. For well over 20 years, the world has not just been thinking and talking about climate change, it has also been writing and reading about it, in blogs, newspapers, magazines – and in novels.

Climate change fiction is now a recognisable literary phenomenon replete with its own nickname: “cli-fi”. The term was coined in 2007 by Taiwan-based blogger Dan Bloom. Since then, its use has spread: it was even tweeted by Margaret Atwood in 2013:

It is not a genre in the accepted scholarly sense, since it lacks the plot formulas or stylistic conventions that tend to define genres (such as science fiction or the western). However, it does name a remarkable recent literary and publishing trend.

A 21st-century phenomenon?

Putting a number to this phenomenon depends, partly, on how one defines cli-fi. How much of a novel has to be devoted to climate change before it is considered cli-fi? Should we restrict the term to novels about man-made global warming? (If we don’t, we should remember that narratives about global climatic change are as old as The Epic of Gilgamesh and the Biblical story of the flood.) If we define cli-fi as fictional treatments of climate change caused by human activity in terms of setting, theme or plot – and accept there will be grey areas in the extent of this treatment – a conservative estimate would put the all-time number of cli-fi novels at 150 and growing. This is the figure put forward by Adam Trexler, who has worked with me to survey the development of cli-fi.

This definition also gives us a start date for cli-fi’s history. While planetary climatic change occurs in much 20th-century science fiction, it is only after growing scientific awareness of specifically man-made, carbon-induced climate change in the 1960s and 1970s that novels on this subject emerged. The first is Arthur Herzog’s Heat in 1976, followed by George Turner’s The Sun and the Summer (published in the US as Drowning Towers) in 1987.

At the turn of this century, Maggie Gee and TC Boyle were among the first mainstream authors to publish climate change novels. In this century, we can count Atwood, Michael Crichton, Barbara Kingsolver, Ian McEwan, Kim Stanley Robinson, Ilija Trojanow and Jeanette Winterson as major authors who have written about climate change. The past five years have given us notable examples of cli-fi by emerging authors, such as Steven Amsterdam, Edan Lepucki, Jane Rawson, Nathaniel Rich and Antti Tuomainen.

Creative challenges

Cli-fi is all the more noteworthy considering the creative challenge posed by climate change. First, there is the problem of scale – spatial and temporal. Climate change affects the entire planet and all its species – and concerns the end of this planet as we know it. Novels, by contrast, conventionally concern the actions of individual protagonists and/or, sometimes, small communities.

Added to this is the networked nature of climate change: in physical terms, the climate is a large, complex system whose effects are difficult to model. In socio-cultural terms, solutions require intergovernmental agreement – just what COP21 intends – and various top-down and bottom-up transformations. Finally, there exists the difficulty of translating scientific information, with all its predictive uncertainty, into something both accurate and interesting to the average reader.

Still, cli-fi writers have adopted a range of strategies to engage their readers. Many cli-fi novels could be classified as dystopian, post-apocalyptic or, indeed, both – depicting nightmarish societies triggered by sometimes catastrophic climate events. A future world is one effective way of narrating the planetary condition of climate change.

Some novelists are also careful to underpin their scenarios with rigorous climatic predictions and, in this way, translate science fact into a fictional setting. Kingsolver, who trained as an ecologist, is the best example of this – and Atwood and Robinson are also known for their attempts at making their speculations scientifically plausible. Also, cli-fi novels, particularly those set in the present day or very near future rather than in a dystopian future, tend to show the political or psychological dimensions of living with climate change. Readers can identify with protagonists. To some extent, the global community is represented in fictional everymen or everywomen. Or, often, it is through such characters that science is humanised and its role in combating climate change better understood.

Can cli-fi lead to change?

Could cli-fi affect how we think and act on climate change? The paradox is that the harder cli-fi tries, the less effective it is. Many writers want to inspire change, not insist on it: the line between literature and propaganda is one that most novelists respect. Literature invites us to inhabit other worlds and live other lives. Cli-fi at its best lets us travel to climate-changed worlds, to strive there alongside others and then to return armed with that experience.

In Paris, the UN will seek a global agreement on climate action for the first time in more than 20 years. There is plenty of climate change fiction out there to help provide the mental and psychological space to consider that action.

The Conversation

Adeline Johns-Putra, Reader in English Literature, University of Surrey

This article was originally published on The Conversation. Read the original article.